Posts Tagged ‘comedy’
“Where there is ruin, there is hope for a treasure”*…
Shakespeare, New Mexico has a fraught history. Built around a desert spring, it was an Apache settlement, then a stage stop on the route linking St. Louis and San Francisco in the mid-18th century. When silver was found nearby, its population briefly soared to 3,000; but as the deposits nearby were meager, the propectors– and almost everyone else– left, leaving only the proprietor of the stage stop. Then in 1879, The Shakespeare Mining Company filed claims for a number of neglected mines in the area. Its Anglophile owners changed the town’s name to Shakespeare, dubbed the main street “Avon Avenue,” and called the hotel (which they built within the walls of a Civil War fort) “The Stratford.” But the Silver Panic of 1893 turned Shakespeare into a ghost town once and for all. Even the stage stop was gone (as the railroad had built a stop in nearby Lordsburg).
There are dozens of stories like this, all illustrated with photos like the one above, in Daniel and Ligian Ter-Nedden‘s Ghost Town Gallery.
* Rumi
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As we ruminate on ruins, we might recall that it was on this date in 1997 that Romy and Michele’s High School Reunion premiered. A deserved cult classic, it’s the story of two 28 year-old women who fear that their achievements-to-date are underwhelming, so invent fake careers for their ten-year high school class reunion. Beyond that hilarity that ensues, it’s a testament to the acting skills of the two leads that they were each playing against their own backgrounds (Lisa Kudrow graduated from Vassar; Mira Sorvino, from Harvard).
Michele : Did you lose weight?
Romy : Actually, I have been trying this new fat free diet I invented. All I’ve had to eat for the past six days are gummy bears, jelly beans, and candy corns.
Michele : God, I wish I had your discipline.
“Comedy too can sometimes discern what is right”*…
What’s old is new again…
When Cardi B and Megan Thee Stallion released ‘WAP’ in August 2020, ‘conservative’ commentators such as Tucker Carlson expressed outrage that the song might corrupt ‘your granddaughters’; Alyssa Rosenberg in the Washington Post celebrated it as an ‘ode to female sexual pleasure’. The video featured the two long-lashed goddesses twerking their way through a gilded McMansion in fabulous candy-coloured outfits, like bethonged Disney princesses. The lyrics create a cluster of ambiguities: are the speakers supposed to be sex workers struggling to pay their college tuition and running in fear from ‘the cops’, or wealthy A-list celebrities? Or are they, as Black women in a white man’s world, both? Do they really want anyone but each other? Do they own the house through which they strut? The song mocks its listeners and viewers for yearning for these superior beings in their state of limitless desire. At the same time, its sly laughter invites us to feel, for a couple of minutes, part of their glittering, multicoloured world.
The song’s genius lies in its inventiveness: its mastery of rhythm, and its innovative abundance of metaphors for the ‘wet-ass pussy’ of its title. You come for the nasty, but you stay for the poetry. The two artists celebrate the power of their bodies to express desire and joy, but more fundamentally, they celebrate their gushing waterfalls of linguistic ‘flow’. The joke of the title hinges on the fact that language is both literal and metaphorical: one body part is used as a linguistic modifier for another. The most memorable lines contain no words that would be unsuitable for a nursery school sing-along, but provide brilliantly funny images: ‘Swipe your nose like a credit card’, ‘Get a bucket and a mop’, or – climactically – ‘Macaroni in a pot’. It’s wild and down to earth at the same time, and for ever changes the way you think about cooking spaghetti.
Ancient Athenian comedy of the fifth century BCE – mostly known to us through the work of Aristophanes – can be usefully compared to a number of different modern genres. Like traditional TV sitcoms, it featured typical or stereotypical characters, and showcased their ridiculous lust, avarice, stupidity and ambition. Like modern stand-up comedians or late-night TV hosts, comic poets included speeches in their plays in which they railed at the audience about the state of society and their personal grievances. Like Saturday Night Live, comedy in fifth-century Athens included caricatures of people who might well have been in the audience – such as Socrates, Euripides or the politician Cleon. Like The Simpsons or 30 Rock, the dialogue had a high rate of jokes per minute, and catered to multiple different audience sensibilities, including a taste for lavatory humour. As in Broadway musicals or on the Disney Channel, characters in lavish costumes were liable to burst into song and dance at any moment – although, unlike on Hannah Montana, the male characters wore large strap-on phalluses. Old Comedy anticipated modern sci-fi, and shows like The Good Place, in its willingness to carry out fantastical thought experiments (talking frogs, a city of birds, a singing chorus of metaphysically inclined clouds, or, weirdest of all, women with real political power), and considered their social and political repercussions. Like pantomime or Punch and Judy, it included formulaic riffs on falling over, violence and cross-dressing.
But the lush comic hip-hop of Megan Thee Stallion and Cardi B is one of the most useful modern analogues, because it illustrates the core element of Old Comedy that is most often obscured in contemporary Anglophone translations – the flow. Aristophanes, like the creators of ‘WAP’, was a musician, songwriter, choreographer and poet, and his linguistic effects depend, like theirs, on the artful manipulation of rhythm and sound in words and imagery. The poetic affinity between rap and Old Comedy is explored in Spike Lee’s film Chi-Raq, a hip-hop adaptation of Lysistrata set on the South Side of Chicago…
Aristophanes and rap: “Punishment By Radish,” from Emily Wilson (@EmilyRCWilson), the translator of a wonderful edition of The Odyssey.
* Aristophanes
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As we LOL, we might we might send dramatic birthday greetings to Nathan Field; he was born on this date in 1587. A contemporary and colleague of Shakespeare, Field was– like the Bard– both a dramatist and an actor.
As an author, Field wrote alone (e.g., the comedy A Woman Is a Weathercock), and in collaboration with John Fletcher and Philip Massinger (e.g., the tragicomedy The Knight of Malta). As an actor he ended his career in the Kings Men, working alongside Shakespeare, where he appeared in Shakespeare’s plays and in Ben Jonson‘s Volpone and The Alchemist, among other productions.
“The circus comes as close to being the world in microcosm as anything I know; in a way, it puts all the rest of show business in the shade.”*…
Come one, come all!…
While circus acts go back to the midst of time, the circus as commercial entertainment dates to the opening decades of the nineteenth century. In Victorian England, the circus appealed across an otherwise class-divided society, its audiences ranging from poor peddlers to prestigious public figures. The acts that attracted such audiences included reenacted battle scenes, which reinforced patriotic identity; exotic animal displays that demonstrated the reach of Britain’s growing empire; female acrobatics, which disclosed anxieties about women’s changing role in the public sphere; and clowning, which spoke to popular understandings of these poor players’ melancholy lives on the margins of society.
The proprietor and showman George Sanger (from whose collection the following photographs come) was a prime example of how the circus was to evolve from a small fairground-type enterprise to a large-scale exhibition. Sanger’s circuses began in the 1840s and ’50s, but by the 1880s, they had grown to such a scale that they were able to hold their own against the behemoth of P.T. Barnum’s three-ring circus, which arrived in London for the first time in that decade.
Like many circuses in the nineteenth century, Sanger’s was indebted to the technology of modern visual culture to promote his business. Local newspapers displayed photographs alongside advertisements to announce the imminent arrival of a circus troupe. Garish posters, plastered around towns, also featured photographs of their star attractions. And individual artists used photographic portraits, too (in the form of the carte-de-visite or calling card), to draw attention to their attributes and to seek employment. One striking image in this collection [the image above] poses six performing acrobats amid the other acts—a lion tamer, an elephant trainer, a wire walker, and a clown—in one of Sanger’s circuses, all in front of the quintessential big-top tent. Maybe the projection of the collective solidarity of the circus in this image belies personal rivalries and animosities that might have characterized life on the road. Moreover, at the extreme edge of the image, on the right-hand side behind the dog trainer, there appears to be the almost ghostly presence of a Black male figure. By dint of their peripatetic existence, all those employed in the circus were often viewed as marginal and exotic. However, this image is a reminder of how racial and ethnic minorities were a presence within circus culture, even if, as here, they appear to have been banished to the margins of the photograph.
That most democratic of Victorian popular entertainments: photos from the Sanger Circus Collection.
* E. B. White
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As we head for the big top, we might recall that today is International Yada Yada Yada Day. Lenny Bruce is often credited with the first use of “yadda yadda” on the closing track on his 1961 album “Lenny Bruce – American,” though earlier uses are documented in vaudeville. Employed by comedians and TV shows to convey that something unimportant or irrelevant was being elided, it gained vernacular currency when Jerry Seinfeld’s show featured a variation on this phrase as an inside joke between characters Elaine Benes (played by Julia Louis-Dreyfus) and George Costanza (Jason Alexander).
The Yada Yada,” the series’ 153rd episode, focused on just how badly using the phrase can backfire when the details being omitted are actually extremely important– the fact that George’s new girlfriend is actually a kleptomaniac who steals to kill time, or that Jerry’s new girlfriend is both racist and antisemitic. (That episode also introduced the term”anti-dentite.”) Hilarity ensues when both these unwitting men find out what kind of people they have been dating, and must break off the relationships.
In 2009, the Paley Center for Media named “Yada, Yada, Yada” the No. 1 funniest phrase on “TV’s 50 Funniest Phrases.”
“Barbecue may not be the road to world peace, but it’s a start”*…
As we noted in an earlier post, Robert C. Baker– “the George Washington Carver of chicken,” a member of the American Poultry Hall of Fame– is best-remembered for his invention of the chicken nugget. But on his home turf, he’s remembered for something else entirely…
In 1950, Robert C. Baker, a professor at Cornell University, published Cornell Cooperative Extension Information Bulletin 862, which changed summer in upstate New York forever. Entitled “Barbecued Chicken and Other Meats,” the bulletin describes a simple vinegar-based sauce that can be used to turn broilers—chickens raised for their meat rather than their eggs—into juicy, delicious barbecue heaven.
At the time, this was an innovation. When Americans ate meat, they preferred beef and pork, and the poultry industry was just beginning to increase production. As an agricultural extension specialist, part of Baker’s job was to convince Americans to eat chicken. Before he passed away in 2006, he invented chicken bologna, chicken hot dogs, chicken salami, and, most famously, a prototype chicken nugget.
Cornell Chicken Barbecue Sauce, though, was his first great triumph, and what he is best known for in upstate New York. All summer, every summer, Cornell Barbecue Chicken features at backyard parties and family get-togethers. Younger generations of Finger Lake residents don’t even recognize this as a regional specialty so much as the default way to cook chicken outdoors. “Every fund-raising event, every fire department cookout, every little league barbecue, must serve this recipe or nobody would come,” writes barbecue expert Meathead Goldwyn…
The way Baker told the story, he first came up with the idea of the chicken barbecue when he worked at Penn State and the governor came to visit. When he went to Cornell a short while later, he started putting on barbecues regularly, enlisting his family and the young men who worked with him at Cornell as basters and turners.
“My father was quite a promoter,” says Dale Baker, the eldest of Baker’s six children. “He would have me and others go out in high school and cook for groups.” Roy Curtiss, who worked with Baker as a Cornell undergraduate, remembers killing and butchering chickens in the basement of Rice Hall, on campus, freezing them, and using them all summer long to create barbecues for 50 to 100 people.
“We’d charge them a buck and half, for a roll, an ear of corn, and half a chicken,” Curtiss says. All summer, they set up for church groups and farm bureaus, toting collapsible grates in the back of a pickup truck, all around the Ithaca area. “It was very popular,” he says. “People would hear about this, and think it was a great alternative to hamburgers and hot dogs.”…
Perhaps the most ambitious use of the sauce, though, has been at Baker’s Chicken Coop, the barbecue stand Baker started in the 1950s at the New York State Fair. (His daughter still operates it today.) “We would cook, when I was younger, 22, 23,000 half-chickens in 10 or 11 days. It was a pretty big thing,” says Dale Baker. When he finished college, he and his dad estimated how many half-chickens they had cooked up until that point in time. It was more than a million…
The true legacy of the Cornell professor who invented the chicken nugget: “Why All of Upstate New York Grew Up Eating the Same Barbecue Chicken.”
* Anthony Bourdain
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As we baste, we might recall that on this date in 1982 Saturday Night Live viewers decided the fate of Larry the Lobster. In an early example of interactive television, Eddie Murphy held Larry, a live lobster, aloft and declared that the show’s audience would determine whether he lived or died. He read two “900” phone numbers, one for those who wanted to spare Larry, and another for those who wanted to see him cooked. Calls cost $0.50 each. (Murphy tended to read the number to save Larry very quickly, as opposed to his giving the number to cook Larry very slowly and clearly.)
Updates on the voting were given by other cast members over the course of the episode, and in the span of 30 minutes, viewers made nearly 500,000 calls, sending phone traffic soaring– indeed, the heavy phone use stood as a record or near-record for many years.
Larry was spared by about 12,000 votes; 239,096 callers voted to save him and 227,452 voted for him to be boiled. (Though on the following week’s show, a lobster– reputedly Larry– was eaten on-air.)
To this day the sketch is cited in discussions of classic comedy routines, cruelty to animals, and in rosters of famous animals.
“Presenting honest stories of working people as told by rich Hollywood stars”*…
A self-contained four-man comedy troupe of writers/actors whose medium was the audio record, they created brilliant, multi-layered surrealist satire out of science-fiction, TV, old movies, avant-garde drama and literature, outrageous punning, the political turmoil of the Sixties, the great shows of the Golden Age of Radio, the detritus of high and low culture (James Joyce meets the found poetry of used-car pitch men) and their own intuitive understanding of the technological possibilities of multi-track recording. Their thirteen albums for CBS, recorded in various group permutations between 1967 and 1975, reveal them to have been at once the Beatles of comedy, the counter-cultural Lewis Carroll, and the slightly cracked step-children of Kafka, Bob and Ray, Jorge Luis Borges, Philip K. Dick, Stan Freberg, Samuel Beckett and the Goon Show.
Stereo Review
Firesign Theatre started to assemble during 1966 at KPFK, a freeform stereo FM radio station in Los Angeles, which was then a very new thing, during Peter Bergman’s “Radio Free Oz” show. Phil Austin and David Ossman worked at the station and would appear on RFO, while Philip Proctor, an actor friend the “Wizard of Oz” (Bergman) knew from Yale, was invited to join a bit later. The name refers to the fact that all four were born under fire signs in the zodiac, and to Orson Welles’ Mercury Theatre. The late night Radio Free Oz show was so popular—and they were regularly gigging in Hollywood’s folk and rock clubs—that they were quickly offered a record contract.
There are four undisputed “classics” in the vast Firesign canon, all recorded between 1967 and 1971, titled (in order) Waiting for the Electrician or Someone Like Him, How Can You Be in Two Places at Once When You’re Not Anywhere at All (which includes their most famous creation, “The Adventures of Nick Danger, Third Eye”), Don’t Crush That Dwarf, Hand Me the Pliers, and I Think We’re All Bozos on This Bus. Their first album was recorded in the same CBS radio studio where The Jack Benny Show was taped using vintage microphones and sound effects. By the time of their second record they were using 16-track tape machines in the studio, constructing tightly assembled radio plays with extremely creative sound effects and spatial cues that suggested time travel, watching something at a domed planetarium, being on a people mover, getting into a car where the inside is bigger than the outside and so on. These four records are the ultimate presentation of their unusual artform—literature as much as performed comedy that’s been carefully sculpted in a recording studio—but there are at least 20 other albums, dozens upon dozens of hours of live performances recorded onstage and during their radio shows, and TV and film work. Dear Friends, a 1972 released two record compilation of the best of their syndicated radio show of the same name is also considered to be a classic Firesign album, but being culled from live radio, it’s less elaborately constructed, and more spontaneous and improvisational.
These five albums represent the cream of the crop and they are all masterworks of surrealist “theater of the mind” sci-fi counterculture comedy. There was nothing else like them, and the sole thing I can think of to compare them to would be the Monty Python albums. Firesign Theatre were often called “the American Monty Python,” but this comparison would stop at the Python albums, as Firesign were a strictly audio proposition for the most part, and certainly during their late 60s/early 70s golden years. [They are actually much more akin to lysergic Goon Show, of which all four of the Firesign Theatre were fanatical fans. In fact, Peter Bergman wrote some TV comedy sketches in London with Spike Milligan in the early 1960s.]…
These days, everybody is always listening to their favorite podcasts, at the gym, in the car, cooking, whatever, they’ve all got a podcast going on in the background. Why not think of the Firesign oeuvre as the greatest comedy podcast ever made?
Well, you’re in luck as all of the major (and much of the minor) works of Firesign Theatre are streaming from the exact same sources as that weekly true crime thing you always listen to. Spotify, TIDAL, YouTube, Amazon Music, Apple Music, all of them are pumping Firesign Theatre directly into your home. The four (or five) classic albums are super easy for you to listen to. Just a few clicks away from where you are reading this…
An appreciation of past masters: “Firesign Theatre’s ‘Dope Humor of the Seventies’” from @DangerMindsBlog.
* Firesign Theatre
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As we slip on the headphones, we might recall that it was on this date in 1987 that ABC premiered Max Headroom (which had originated on the UK’s Channel 4 in 1985). Painfully prophetic, the series followed the near-future exploits on the digital avatar of Edison Carter, a news host/reporter who hosts the most popular show on Channel 23.
As SyFy Wire explains, this future is a:
…dystopia in which several television networks essentially rule the world. That’s no exaggeration — the government knows all about it too, and plays along, while the networks do what they want without anyone to curtail their schemes. There are no “off” switches on TVs, so you can’t escape the watchful eye of the networks, who’ve even gone so far as to watch citizens through their TVs.
Each episode revolved around the various evil plans the television conglomerates planned to enact on the unsuspecting public. Network 23 is one of the major stations with the highest-rated “new” program, which Edison Carter himself hosts. Real-time ratings are more important than ever in this world, as they translate to money put toward advertisements. In fact, ads have taken over stocks in this world, making whoever performs the best on-air essentially the most powerful entity on the planet.
Every installment of the series is about the inner workings of the crooked conglomerates, up to and including advertisements known as “Blipverts,” which are completely capable of killing people just by airing on television. They’re meant to condense longer ads into a few seconds so the station can run more, but they’re much deadlier than that…
Catch an episode here.
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